Filling only two CDs, the complete works for cello and piano are quintessential and vintage Beethoven. Timora Rosler and Klara Wurtz have played together for more than 15 years, having won several chamber music prizes. They performed the Beethoven cycle several times in concert over the years, and their interpretation has ripened to such an extent that the time came to record it. Every note is alive and vibrant, played with gusto and feeling, alternating melancholy and joy, sadness and sheer fun. Recorded January 19-23, 2013, at Sala congressi del Parco naturalistico di Onara in Padua, Italy.
Playing together for the first time for Hyperion, Hough and Isserlis are stunningly matched in this large-scale passionate romantic programme. The sonatas stand at the centre of the meaty repertoire established by Brahms—whose two cello sonatas Steven Isserlis has recorded for us in an award-winning disc accompanied by Peter Evans (CDA66159)—and characterised by grand sweeping gestures, lush melody, and heartfelt emotions that sear from pathos to frenzy. The Franck is, of course, an alternative version the composer wished for his violin sonata, a transition that many feel to be the work's happiest incarnation.
Jacqueline Mary du Pré, OBE (26 January 1945 – 19 October 1987) was a British cellist. She is particularly famous for performing the Elgar's Cello Concerto in E Minor, her interpretation of which has been described as "definitive" and "legendary". Her career was cut short by multiple sclerosis, which forced her to stop performing at the age of 28, and led to her premature death…
"The Accademia Bizantina under conductor and keyboardist Ottavio Dantone is one of a number of young Italian historical-instrument groups that have been revolutionizing the world of Baroque instrumental music performance. (…) The fugues are fast, intense, and dramatic, with wide dynamic range gaining momentum toward a climax. Perhaps the most satisfying of all are the cello sonatas under the care of Baroque cellist Mauro Valli, you get the feeling in the slow movements that you're hearing the Baroque cello, still an acquired taste for many listeners, take on its proper sound as its bendable tones connect with highly expressive lines. An excellent release…" ~AMG
In this new chamber recording, Steven Isserlis together with his regular collaborator, fortepianist Robert Levin, presents a magisterial and long-awaited compendium of Beethoven’s complete works for cello and piano, including Beethoven’s arrangement of his Op 17 Horn Sonata. The use of the fortepiano opens up a wealth of sonic possibilities for these works.
The pieces are found in an anonymous 18th-century manuscript housed in the Sacro Conveno library in Assisi; after a day of research, MVSICA PERDVTA were able to attribute them to Zuccari. In recording these sonatas, MVSICA PERDVTA have paid considerable attention to the performance practices of Zuccari’s era.
Luigi Rodolfo Boccherini (Lucca, Italy, February 19, 1743 – Madrid, Spain, May 28, 1805) was an Italian classical era composer and cellist whose music retained a courtly and galante style while he matured somewhat apart from the major European musical centers. Boccherini is most widely known for one particular minuet from his String Quintet in E, Op. 11, No. 5 (G 275), and the Cello Concerto in B flat major (G 482). This last work was long known in the heavily altered version by German cellist and prolific arranger Friedrich Grützmacher, but has recently been restored to its original version. Boccherini composed several guitar quintets including the "Fandango" which was influenced by Spanish music.
Julius Röntgen (1855-1932) stands apart from the legions of Brahms imitators and conservative late Romantics for one thing: melody. It seeps from every theme and cadence. Everything I've heard from his pen is overflowing with inventive tunefulness. It is no wonder he enjoyed a close friendship with another great melodist of his day, Edvard Grieg. Röntgen's enormous output includes 14 cello sonatas, many of which were dedicated to and performed by Pablo Casals.